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07/29/05 01:48 PM
Re: Brian Eno new [re: ziggfried]  

"I think we treat the whole thing as gentlemen, so it doesn’t...we don’t really get frayed tempers, but artistic temper sort of shows. I think the way we solve it is that one or the other will leave the studio for a couple of hours and let the other get on with it...follow everything through. We never throw an idea out of hand immediately without trying it out."

David Bowie, interviewed on New York radio, July 1979

12/25/05 09:46 PM
Re: Brian Eno new [re: ziggfried]  

“I had Roxy as a support band earlier in the year and thought them perfect for the Rainbow Show [19-20 August 1972] as they were the only other band in Britain at that time doing anything remotely interesting. The Rainbow Show was terribly hard for them as my blessed set took so long to set up and get right that it left them little time for a sound check. They were quite angry, I think, and understandably so. Needless to say, on both occasions I actually missed their set because of arriving late at the venue or careening around at the last minute pulling socks together or something.

I had met Eno at the first show we played together in the town of Croydon. Eno, looking quite the glam rocker at the time, was so bright and mercurial and we quickly found we shared a number of similar musical passions. We had both been lucky enough to have been present at Philip Glass’s first London show in 1970 and we wittered on about maybe working together at some point in the future. I was not to meet Ferry, to whom I was introduced by Amanda Lear, until a year or two later at a party in New York.”

David Bowie, Moonage Daydream (2002), p. 81 (2005 ed).

(heroic dolphin)
03/26/06 08:50 AM
Re: Brian Eno new [re: EuropeanCanon]  

"Brian once said something to me in the '70s that's always helped me focus on what I enjoy. He said, "David, you must remember that in all the functions we have in life, art is the one place where we can crash our plane and walk away from it." And that's so right. Creating something is the one area where you mustn't have caution or inhibition. If you make a startling, disastrous mess, it's fine, because. you can reach out and reevaluate and plunge off into another direction. But never be scared to do the plunging."

Interview, September 1995, by Ingrid Sischy

05/06/06 04:22 PM
Son, Arise new [re: EuropeanCanon]  

David Bowie is 50 on January 8. Long-time associate Brian Eno offers, er, post-modern felicitations...
Son, Arise

Since Major Tom Tom the Piper's son arise he come in the morning spreading all the light around. His work and work your finger to the bone... In fact, David Bow & Arrow of time is on my side of beef, heart and soul music.

But not solely music: a man also with an eye eye captain of my ship-to-shore thing, boss, an eye for an eye for a nice bit of skirt (fluttering her skirts all round). Ziggy got biggy, very biggy. Then Biggy went giggling, all over the world for five years of young American dream lovers... young everybody's got something to hide except me and my shadow.

After leaving that web, going so low you can't get under it, so high you can't sit down, so wide you can't get a-round round round I get around, he was in a tin drum machine.

Young half centurion, just one L man. Man or mountain? Devil or angel or devil in disguise? Joe the lion or pussy cat, pussy cat I've got flowers and lots of hours to spend with you, so go and make up your sweet little pussycat eyes?

Fool on a hill or foot in the door? Where is he now and then a fool such as I? I, who have nothing ventured nothing gained a son arise. Oh! Oh! Bringing back the warmth to the ground.

GQ, January 1997

05/09/06 02:17 AM
Interview with Brian Eno new [re: EuropeanCanon]  

If I do an interview – David Bowie was saying the same thing –if either of us do an interview and we throw out twenty ideas, whichever two are most banal will get the most space in the papers.

Punk, probably in 1976, by Mary Harron. From the Jeffrey Morgan Archive.

05/09/06 02:35 AM
Another False World new [re: EuropeanCanon]  

What about Bowie?

"He gets into a very peculiar state when he's working. He doesn't eat. It used to strike me as very paradoxical that two comparatively well-known people would be staggering home at six in the morning, and he'd break a raw egg into his mouth and that was his food for the day virtually.

"It was really slummy. We'd sit around the kitchen table at dawn feeling tired and a bit fed up - me with a bowl of some crummy German cereal and him with albumen from the egg running down his shirt."

Do you have much in common in terms of approach?

"We used Oblique Strategies a lot - 'Sense Of Doubt' was done almost entirely using the cards - and we did talk about work-methods, but no I don't think we have that much in common. But that's fine, so long as there's give and take."

How does his approach differ from yours?

"Well, for example, we stayed late one evening and did that piece called 'Neuköln'. I liked that very, very much. I was very impressed by that.

"And I was trying to think what it was like in painting. There was a German school in Berlin at the beginning of the century called Die Brucke (The Bridge) - an expressionist school. Very rough, tough strokes - and they all have a mood of melancholy about them or nostalgia, as if they were painting something that was just disappearing.

"And all of that - the boldness of attack, the unplanned evolutionary quality of the images, and the over-all mood - remind me of the way David works.

Another piece was the one called 'Moss Garden'.

"David wanted to do a piece which was very descriptive, something I don't normally do inasmuch as I usually start something and then say 'Oh that's what it is' and then follow that direction. But this was quite studied.

"David told me about this place in Kyoto called the Moss Garden and then we just started to work. And, again, there was this very sloppy sort of technique - like, I was just playing around with this chord-sequence on the Yamaha synthesiser and I said 'Give us a shout when you think it's long enough', you know, and sort of carried on. And then David looked at the clock and said 'Yeah, that'll probably do', and we stopped.

"And, on the record, that's exactly where the piece ends. I find this very, very curious. It's so random somehow."

New Musical Express, December 3rd 1977, by Ian MacDonald

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